I was there. It was stunning. The DG recording is a very different 'watered down' version, almost as if Mikhail had persuaded Martha to succumb to his approach to Prokofiev.Wouldn't be without either version, though..
I love these two people and this music. Cinderella is the first ballet I ever saw at Covent Garden and, although this is for piano, it reminds me exactly of the ballet. Great.
Incredible. Argerich is always a marvel, but Pletnev can match her, and that is extremely uncommon amongst her duo partners. It’s a shame we haven’t got more from them. Would love to hear the rachmaninoff suites or symphonic dances in their hands. And of course Pletnevs arrangement is one of the greatest additions to the two piano repertoire in recent memory. All I can say is I want more!
@@ClassicalRaritiesChannel And wonderful that is too. Maybe they will play together again, but I haven't seen them perform together in years, although Pletnev seems more active as of late after his hiatus'.
Disney lacks the magic that it had before, before the music was nice, nowadays you have Ariana Grande singing at the end of the movie ( beauty and the beast ). Disney needs a bit of 12:16
И это за день подготовки или даже за ночь. Пожалуй,что это единственная запись Плетнева в ансамбле,ему ведь не очень это близко. Аргерих просто очень попросила записать с ним его сюиту ,подаренную им на ее день рождения) Кажется ещё,что дали Грэмми за их дуэт?
Nobody can say that is possible for Other pianists. Especilly Martha Argerich is a Pianist you can`t hardly topping. If somone say it is possible you have nearly to say HOW DARE YOU!!!!
I'm one of the guys yelling 'bravo' in the recording. I can't speak for the rest of the audience, who might've been there and applauding because they had a sense that they should be; I've seen plenty of that at events with big-name musicians. But I had to reply to you here: you need to understand the context of the performance. This was the first time Martha ran her own 'Argerich Project' at the Lugano Festival, and the world premiere of this work had been advertised to cap the whole event off. It had been only two years since her astonishing return to the solo stage at Carnegie Hall; a transcendental performance at which she was receiving standing ovations BEFORE the end. She had stretched herself hard during the week of the festival, playing a lot of repertoire across several nights, so much so that at one point she cancelled her performance of a Chopin concerto, something she hadn't played publicly in many years, subbing the Schumann instead; it was a huge disappointment because we were all very desperate to hear her in new repertoire. It made me even more excited for this performance. At one point, we autograph-seeking geeks caught her in a practice room immediately after a chamber performance, working on this piece with Pletnev. I remember hearing her practising one LH figuration over and over; you could feel trying to force it into her fingers at speed, slightly frantic. Rumours came from the junior performers that she was finding the piece impossibly challenging. On the day itself, Eduardo Delgado broke a string on the piano, leaving the audience sitting around for twenty minutes before the mammoth programme could resume. There were two intervals. Anticipation was massive. And then the duo put on THIS performance, capped with Pletnev unexpectedly standing up and smiting the strings with the flat of his hand; the sonic effect from the front row was apocalyptic. The downward glissando Martha hits after that section (after they fudge the chords from sheer nerves) was like a "£$%^&* lightning bolt... I'd never heard a pianist risk his or her fingers in that way; the recording totally doesn't capture it. It was one of those moments where you realised that you were very lucky to be alive, to have ears and to be in a certain place at a certain time in history; like attending Richter's Sofia Recital, Jarrett's Koln Concert or Bolet's Carnegie Hall Recital in 1972. We simply HAD to make some noise; to roar our approval to the heavens. You had to be there.
@@the_musing_kravist Thank you for this amazing account. I had no idea. Sounds like a very great time in her career, and a terrific moment for you who witnessed much of it. I still think the bravos might need to wait a tad longer, in general. In opera, it's really bad.
